DANIEL BROCKMAN

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Beach House avoid the literal “The abstract has been very good to us.” I am communicating via e-mail with the two members of Baltimore’s dreamy pop choir Beach House, and to be honest, I don’t know which one of them made that statement.

The four most crucial post-punk boy-girl duos of the '80s Much of the press tumult over Beach House has focused on how the duo’s idiosyncratic musical style folds into a surging wave of like-minded indie artists eschewing rock histrionics for a gentler path to the hearts of music listeners.

Jay-Z, live at TD Garden, March 11, 2010 There was something about the way Jay-Z hyped the crowd up at the start of show opener "Run This Town" that was not only emblematic of his performance style, but of his general appeal as a performer -- a key to his likability.

Harvey Milk scramble your metal detector Loving heavy rock is a two-step process. Step one is easy: you hear something heavier than you've ever heard before, and you realize, "This is my thing." Step two is a little trickier: you wonder, "What is 'heavy'?" If you can accept the idea that a certain set of limitations leads to ultimate heaviosity, then — kudos! — you are a metalhead.

Catching up with Demi Lovato’s favorite metal band You know you've made it to rock’s Big Time when interviewers catch you as you're boarding a jet, instead of loading the tour van. And although Athens, OH's Skeletonwitch didn’t happen to be boarding their own Iron Maiden-like 747 when we reached them, they’ve got too much going on these days to make it all happen on four wheels.

E1 (2010) Joining a metal band as a young 'un is a bit like getting hired as a burger flipper: you may dream of one day becoming Ray Kroc, but after years of toil, grease, and ridicule, you'll probably settle for store manager.

Tokyo's Polysics cannot play music in calmness Japanese acts attempting to interface with Western audiences often do so from behind a veil of inscrutability. Never mind that Japanese artists emerge from an alternate J-rock history that seldom intersects with ours. Tokyo's enduring Polysics have bridged this gap by expressing themselves as plainly as possible: with screaming, bouncing, eyeball-popping pogo pop so spastic that it breaks the language barrier.

Paradise Rock Club, January 31, 2010 "I could have been singing this at the Grammys — but I'm here with you tonight," declared Elly Jackson, the public face of La Roux, with a detectable dash of annoyance folded into several dollops of playful sarcasm.

Ladysmith Black Mambazo raise their voices The Romantic notion of artistic merit is that one must plumb the depths of despair to emerge with great work — and that the finest triumphs are often born of the direst misery.

James Blackshaw keeps his ears (and strings) open Blackshaw's low-key career has evolved as organically as one of his songs: at 28, the Londoner has amassed a body of instrumental guitar music that defies tidy categorization. What he does isn't really folk, jazz, or new age — and it's far too accessible to be mistaken for avant-garde.

Of Montreal might be weird enough for the mainstream When Beyoncé, in a recent Guardian interview, pegged Georgia art weirdos Of Montreal as a group with whom she'd love to collaborate, the real weirdness was in how sensible it all seemed — as pop music has gotten skronkier and more fuzzed-out, indie rock has slowly molted its hatred of the mainstream and started to display the very flamboyance and hook worship it once held as anathema.

Julian Casablancas, live at the Paradise Rock Club, January 8, 2010 Casablancas's solo debut, Phrazes for the Young (RCA), is a bizarre and twisted romp through sophisticated musical stylings that, especially in a live setting, sound light years away from the compact garage minimalism of early Strokes. This was evident from the first notes of the show.

Rock's rich history of boarding-school brats Much of the early backlash that followed the Strokes' meteoric rise had to do with the idea that a '00s punk revival couldn't be spearheaded by a band of moneyed prep-school twerps — as if boarding school and rock stars didn't go together like marmalade and scones.

Julian Casablancas goes it alone Julian Casablancas is in control, for better or worse. Better, in the sense that he is finally seeing the release of his debut solo album, Phrazes for the Young (RCA), in which he steps out of the stripped-down style of the Strokes — his blockbuster unit for the past decade — and unveils a kaleidoscopic world of lush dreamscapes, arpeggiated classicism, and haunting balladry.

Reissued and remastered CDs give classic releases a fresh face Most music fans can probably be forgiven, at this point, for being doubting Thomases at the alleged demise of the major-label music industry.

Lady Gaga, resplendent, striding onto the stage of the Wang Theatre, has just removed an intricate half-Egyptian/half-Wagnerian headdress from her person, freeing her enormous blonde hairdo from its confinement.